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Good poetry and graceful aging might be casualties of the reality TV era, but at least we can all star in our own private dramas – or opt out and gossip anonymously.
Artwork elucidates, suggests, deconstructs, and elides, but first it’s hung, framed, shipped and downloaded. In our new series,“Production Line”, Spike talks to the people who do just that: the brains (and brawn) behind the operation. First up is Matthew Tully Dugan – simply “Tully” to those in the know. Got a situation? He can handle it.
From cult classic to Cannes, Abel Ferrara is the uncancellable auteur par excellence. Natasha Stagg settles in with the popcorn to muse on his silver-screen retrospective.
A group show at Capitain Petzel is full of subtle interventions that throw our perspective off-kilter, marrying modernist design – rigorous, linear, and in control; not unlike the white cube itself – with playful nods to incongruity.
Listen up! That's the sound of resistance. Eva Scharrer visits Sonsbeek, where the weight of history echoes and resonates across Arnhem and beyond in an expansive exhibition.
In unseasonably California (home of Joan Didion and serial killers galore), Natasha Stagg considers the perils of America's increasingly confusing corona-culture.
Fifty years after they broke onto the scene with their bold representations of female pleasure, two American feminist pioneers, Betty Tompkins and Marilyn Minter, are finally honoured with their first solo shows in France.
Killing time – it's not just a turn of phrase. The connection between state power, military force, and the measurement of time and space is more literal than we'd like to believe, observes Irish artist Yuri Pattison in his most recent show.
As cinemas reopen and "immersive" art experiences flood New York with their competing ads, Natasha Stagg wonders if we've lost the plot. Is reality still our north star, or has it been eclipsed by a collective fiction?
Ditching social media, Bottega Veneta goes rogue with a multimedia journal – a space for creative expression unbound by the pressures of the algorithmic feed.
![Yuri Pattison, "the engine", The Douglas Hyde Gallery. Photo by Louis Haugh. ](https://spikeartmagazine.com/sites/default/files/styles/medium/public/users/shared/articles/images/yuri_pattison_dhg_300dpi-29.jpeg?itok=KTJ4P6i2 "Yuri Pattison, "the engine", The Douglas Hyde Gallery. Photo by Louis Haugh. ")
